Wednesday, April 18, 2012

Pinterest – it’s not just for individuals anymore


 Second Article in a Series

Pinterest is increasingly in the headlines, from the Huffington Post to The Chronicle of Philathropy.   In the recent 2012 Digital Marketer Report from Experian, Pinterest is cited as currently being the 3rd most popular Social Networking site.  Quickly, Pinterest is no longer just the realm of artists and odd-balls, many companies and organizations now have Pinterest boards.  There is even reliable speculation that the reason that Facebook bought Instagram is to directly compete with the increasingly omnipresent Pinterest.

You may ask, what does this have to do with me and my organization and our Social Media strategy? The answer to that is multi-dimensional:  you can run contests, increase your brand recognition, and even entice new audiences. And what about using Pinterest to communicate with your internal and external Social Media partners?  From large to small, from corporations to nonprofits, fairly soon not having a Pinterest presence will be like not having a Facebook presence.  Now, Pinterest is becoming the norm, and soon not pinning for your company will make you seem old-fashioned.

Here are examples of a few nonprofits, large and small, that have a Pinterest presence:

·         Heifer International - http://pinterest.com/heiferint/

·         Operation Smile- http://pinterest.com/operationsmile/

·         Imagine a Way - http://pinterest.com/imagineaway/



Not only do any number of nonprofits have Pinterest boards, but there is even a man named Noland Hoshino who has collected the boards of nonprofits on Pinterest and created one amalgam of all their boards: http://pinterest.com/nolandhoshino/nonprofits-on-pinterest/.  Mr. Hoshino wrote in an article about Pinterest on JohnHaydon.com, a website for discussing Social Media marketing for nonprofits, that “Pinterest can generate a lot of traffic to your website because pins link back to their original source. For example, if you pin an image of a product from your business’ website onto your Pinterest board and a person clicks on the image, they will be directed back to your website.


What we are seeing is a Pinterest revolution in the business world.  Organizations are learning to communicate with their existing audiences and build new audiences with pictures.  Some have just a few followers, some hundreds – but either way, they are tapping into a new Social Media audience. Pinterest is not even a broadcast outlet where you can just “sell your product” or “create a demand”, you can reveal your essence, your mission, even your core values, all via images.

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Tuesday, March 27, 2012

The Visual Language of Pinterest and the Three Things Game



I don't know about any of you, but since I was “invited” to join Pinterest, I have become obsessed with it. And it seems I am not alone.  Not only are most of my friends “pinning”, but according to the experts, so are more than 2 million people a day! So then we come to the question: “How can Pinterest  be used to anyone's advantage?”

When I was in college, my friends and I invented many games to keep us awake and distracted from our crazy art student hours.  But our favorite was Three Things.  It is a simple game that you can try yourself: all you do is next time you are at a grocery store, try to purchase the 3 most disparate items you can. For us, the winner was 2 knishes and a winter hat! Which still makes me laugh – and that was the point, to make each other laugh as hard as possible, extra points for liquids coming out of anyone's nose! So, you might ask, what does Three Things and nasal expulsions have to do with Pinterest? I will tell you – both are about creating a story by association. And that is why Pinterest can be any person or organizations best tool for anything from Marketing to talking to the dude across the hall.

The basic point here is visual literacy, meaning that, in general, people understand each other better when they see what the other person sees. And what better way to see what another person sees than pictures, literal, actual pictures. So whether you are trying to communicate with your Video Production Company, your Communications Director, or the guy in the next cubicle, if you compile a Pinterest Board of your creative influences, visual “thoughts”, or just stuff you like, you can be on the same page as another person/people. Then from those pictures, you can evolve a story – be it the story of your message, or the story of a particular idea you are trying to propagate.  And the culture of storytelling is a powerful tool for all of us to harness.

Three Things was funny and a shared experience not because of the three selected items, but because of the story they conveyed in relation to one another. The ideas communicated by the juxtaposition of three seemingly unrelated objects, the fact that all three had to be available at our local grocery store, and the absurdity of what each of us chose  for our three each time we played, was the story. And the story was unrelentingly comical no matter who or how often we played. So harness that idea of story, combine it with pictures, and let the creativity flow! I'll leave you with this story: a garden hose, a number 2 pencil, and a box of Ring Dings. 

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Tuesday, December 27, 2011

Seeking participants for an educational video on careers in technology

Hello Facebook Friends, LinkedIn Connections, Twitter Followers:

Primitive World Productions, a Philadelphia based video production company, is seeking participants for an educational video on careers in technology.  The video series will be distributed to colleges and high schools nationwide.  Participants should be employed in the Philadelphia region including NJ and DE, and have either an Associates Degree or Certificate.  Filming will take place at the participants place of employment. In addition to interviewing the main subject, we also seek to interview the participants supervisor or co-worker, and an individual in Human Resources.

We are looking for:

An individual working in Information Technology: 

  •     Information Technology Specialist
  •    Network System Administrator
  •    Computer Programmer
  •   Telecommunications Technician
  •   Database Administrator
A Science Technician working at:
  •   A Biotechnology or Pharmaceutical Company
  •   City Water Department or Independent Provider
  •   Chemical Company
  •   Government or independent Environmental Agency
We are looking to film in the next month. Please let us know of any suggestions or interest.  

Thank you for your time.

Deborah Arnold Brown
Primitive World Productions
215.848.0594 (O)
www.pwpvideo.com

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Tuesday, July 5, 2011

Video Uploading Simplified

Uploading video does not have to be a difficult task. In fact, most video sites like YouTube and Vimeo make it pretty simple. If your footage is in HD and only a few minutes long export an uncompressed Quicktime movie from your timeline and upload that to YouTube or Vimeo. If your video is longer or the file size too large, than export the footage using the H.264 codec and restrict the bits per second to get the file down to a more manageable size.


When we're dealing with DV footage that is 16x9 we use the following settings:
H.264 codec
854x480 pixels
Pixel Aspect Ratio: Square
Restrict Data Rate to 4000kbps or 4Mbps
Keep the current Frame Rate
Audio 44.1 kHz
AAC Stereo

That takes care of DV's pesky rectangular pixels.

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Sunday, February 27, 2011

Google leverages your social network

If you and your organization don't use social media because you don't want to invest them time, you might want to rethink that. Google is now combining search and social media into their results. Here's a short video from Google explaining this:


This means that not participating is going to become a problem if SEO is at all an issue for your organization. And I'm not sure if I know of any organization that is NOT worried about being relevant in search.

I have to congratulate Google on what is a major head slapping aha moment to me. A large part of the power of social media results from trusting one's network. If you can see search results that are from your trusted sources instead only returning from an algorithm, it is obvious this is going to have an impact on what people will click through from their searches.

Watson's appearance on Jeopardy! may not have proven the existence of artificial intelligence, but tying scientific search with human opinion is really at the heart of leveraging large networks and creating a form of artificial intelligence from wide network thinking. The word networking seems to be having its computer and human definitions folding together into a major force for how we as individuals will learn.

If you have an organization, product, mission, or almost anything that you want new people to learn about, it will now be near impossible to not participate in social media. Though this is where the listening to others and encouraging their participation becomes even more critical in the recipe.

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Wednesday, December 29, 2010

Video producers should help clients, not shame them.

I'm Not Bruce: Clients don't understand Container Formats

Everyone seems pretty excited about this article, but maybe I'm missing something. I was hoping I would click over and have one of my most recurring questions from clients solved when I read this headline at studio daily:

The Best File Format Analogy Yet

I was a bit disappointed. Here was the crux of Bruce's biscuit:
.mov, .mkv, .avi and others are containers which mean they're like sandwiches, I tell clients. ... Not all sandwiches are good, and asking me for "a quicktime" or "an mov" or "an avi" is like asking me for "a sandwich on white bread". You've specified that you want a sandwich (video file), with white bread (container format) but you have yet to tell me what kind of sandwich you want (codec).
A decent start on the way to saying, "I need more information," and possibly an analogy one can follow. But the next paragraph doesn't cut it for kindness and client relations:
This seems to be the only way to get through to some clients. "You're ordering a sandwich with white bread but I don't know what kind of sandwich you want. PB&J? Mustard and Lettuce? Cheese and Anchovies?" "What do you recommend?" is usually their response. I dunno. What kind of sandwich does the thingy that you're going to play it on ask for? In the manual. Yes, that one, the one you didn't read.
The question of how to deliver files for a variety of uses isn't going to change anytime soon. And discussing a sandwich analogy might aid our clients in understanding that we need more information, but it's not going to explain what that information is. Personally, I love a good PB&J or Italian hoagie, and it really depends on my mood. But my edit team has developed a nice set of standard compression settings to output an interim QuickTime that we can deliver to YouTube, Vimeo, etc. Are we creating a different kind of deliverable? Well, we should know enough about what we're creating to ask the right questions. People at sandwich shops know what ingredients they can and can't offer, we should be similarly aware when helping our clients.

If you are a producer and are waiting to find out about delivery requirements until the end of the job, you are doing something very wrong. Don't you produce with final delivery in mind? Wouldn't you shoot more closeups for mobile delivery only vs. a big screen? Our clients are experts at their chosen profession, and it is our job to be the experts in ours. As a Director and Producer, I don't always have those exact tech answers but I have the people on my team who do.

Here's my favorite saying that I use with my clients when the format, codec, and streaming rate questions come up. "Let's have your geeks talk to my geeks." Our clients know they want good results, and when we work with them and not against them they trust us to ask the right questions and help direct them to answers they don't know.

And if you're someone's client and feel like you are being chastised for not knowing enough about video production and web delivery technical specifications, don't feel bad. They change so fast its exciting for professionals to keep up. I just hope you find a professional who helps you and not shames you. 

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Saturday, December 11, 2010

Eco-Libris blog: WWF is presenting a new unprintable PDF format to save trees

Eco-Libris blog: WWF is presenting a new unprintable PDF format to save trees

A cool concept, but some items still need to be printed. As long as there's a choice.

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Monday, July 19, 2010

2010: A Video Odyssey

Debbie Arnold Brown was invited to be a guest blogger on the blog Pledging for Change. Here is a link to her article:

2010: A Video Odyssey

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Tuesday, June 22, 2010

Michael on the Radio

I was invited to be a guest on a radio show in early May. The show is called The Marketing of Business, and it aired on WWDB AM 890 on May 8th and 9th. Being that those were Saturday and Sunday evening slots, not many of our friends were able to listen. So, I asked the show for permission to post it online. We have broken the show into 5 clips on YouTube.









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Tuesday, May 25, 2010

Industry Interview - Abby Rogers - Production Coordinator, Primitive World Productions

Industry Interview - Abby Rogers - Production Coordinator, Primitive World Productions

Posted using ShareThis

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Industry Interview - Abby Rogers - Production Coordinator, Primitive World Productions

Industry Interview - Abby Rogers - Production Coordinator, Primitive World Productions

Posted using ShareThis

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Thursday, February 18, 2010

Shakey Review by Pat Ganley

At nearly 800 pages Shakey, a biography about Neil Young, is bible thick and even biblically epic, covering love, wars, death, and betrayal. And much like the Bible, the task of reading it, cover to cover, might seem to be for true devotees. But even the casual fan will be rewarded by the exciting and knowledgeable account of events in the life of an artist who has sneezed out a 40-year catalogue of money-making hits one week and self-indulgent experiments the next. Devotees, however, will marvel at the tremendous access author Jimmy McDonough had to the reclusive singer-songwriter. After giving McDonough authorization to write the book, Young, in a schizophrenic fashion we learn to be true to the artist, tried to stop its release. McDonough delves deep into Young's internal conflict and Janus-headed persona. One side is the tequila-fueled, play-whatever-the-hell-you-want guy, who released Tonight’s the Night; it’s the Young who pursued that great moment of inspiration within a raw-sounding performance, and not in high fidelity and over-dubbing. While another side is the micro-managing control freak behind the bizarre synthesizer and vocoder-laden Trans.

What makes Shakey an especially fantastic read is the author's tone throughout –McDonough is clearly a fan. He relates the first time he heard the often-described Irish wake of an album, Tonight's the Night as a pivotal moment in his life, and vividly reminds us of those moments in our lives, when a piece of art, music, or film alters our perception of the world. For McDonough, the album was a "lifesaver." But his description of the album is not exhausted by his personal affection for it; he also puts its release into a historical context—a time when "the charts were full of pop confections." McDonough’s description of the album’s simultaneous personal and historical impact characterizes his approach to the book. "For me, the seventies can be summed up by just three things," he writes. "Those grotesque early shopping malls, Texas Chainsaw Massacre, and Tonight's the Night. Decay, but with a gleam in it’s eye." If the reader didn't already love that album, McDonough's observations about its impact, as well as his rich description of its songs and smoke-filled boozy production will at the very least provoke one to reconsider its place in rock history as one of the greatest albums of 70’s. Frankly, McDonough made me realize that a single book could have been written about this album alone, and I'm surprised no one has jumped at the chance to publish a 33 1/3 on the subject. (What gives Continuum?) Of course writing one in the face of McDonough’s moving and exhaustive prose will undoubtedly intimidate would-be authors.

Just because some of us think that Young’s best work was done in the 70's doesn't mean that McDonough ignores the rest. Shakey is the story of a man’s life, not just his career and not just his creative output—however inextricable those continue to be. We learn about Young's parents in Toronto: his mother, Rassie, a local TV celebrity, and his sports writer father Scott divorced when Young was quite, well, young. We also learn about a childhood spent with a transistor radio under his pillow, blasting the sounds of early rock and roll—thanks to Wolfman Jack—as well as lots of honky tonk and country music. In a way reminiscent of Tonight’s the Night’s later impact on the author, McDonough describes the radical impact that the Marty Robbins’ song, "Don't Worry" had on Young; of the song with "the first Fuzztone guitar," Young would proclaim, "See, that's country music—fu**in’ feedback came from country. Who woulda (sic) even thought. But there it was."

Such interviews comprise much of the content of this book. McDonough not only interviewed Young, but 300 other people, including those who work for Young, are fans of Young, who hate Young, who love or have loved Young. While this many-sided view of a man already thought to exhibit symptoms of a split personality could have resulted in a vertigo-like reading experience, Shakey’s structure is remarkably straightforward. McDonough tells the story more or less chronologically, allowing the varying perspectives to come and go, all the while maintaining the authority won by his well-researched text and meticulous interview transcripts. Most authorized biographies imagine themselves to be “the end all, be all,” the final word on the life of a person—the absolute truth. It’s clear, however, that McDonough doesn't feel that way about his project. The story of a life, perhaps especially the extraordinary life of Neil Young, will never be understood in so straightforward a manner; McDonough’s awareness of this is communicated in one fell swoop by the title alone. Shakey is derived from Neil Young’s film director pseudonym, Bernard Shakey, and this title exhibits our inability to pin Young down – even “Young” as a name is insufficient.

Indeed, this book isn’t a simple story, nor is McDonough’s authorial agenda a simple one. He isn’t out to praise Young unabashedly for his artistic achievements—quite the contrary. His compliments in one paragraph are answered by another paragraph that calls Young out for running away from problems or throwing money at them. He doesn’t use interviews with Young to assert “the way it was.” Young's perspective rarely clarifies things; often, he's downright contradictory. He'll change his mind as often as the wind shifts direction. Did you know that the anti-“W” Young was a supporter of Ronald Reagan? Or that he thought Woodstock—and peace and love, for that matter—was nonsense and that he refused to be on camera for the concert film? Did you know he's obsessed with trains and owned part of the Lionel Company in the 90's? Jimmy McDonough learned all of this after eight years of research and shared it with us in this immensely entertaining book, supplying footnotes to suggest he isn't lying, even when Neil Young might be.

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Monday, December 14, 2009

Film Review by Meghan Giglio

Film Review
By Meghan Giglio


I remember years ago my mom telling me of the days she used to go to the chicken market with her mom to buy fresh chicken for dinner. She said the chickens would be in coups and you would pick out your chicken (I imagine similar to lobsters in a tank when dining at a fancy seafood restaurant). When the best looking chicken was picked, my mom said the butcher would grab it, chop the chicken’s head off, clean it, package it and off you went. Yet, my mom’s FAVORITE part was every so often, the chicken, now headless, would sometimes manage to wriggle from the butcher’s grasp and run around. She thought this was hysterical. I on the other hand, was a bit mortified.

After watching Food, Inc., a documentary dispelling where our food comes from, I have learned that presently our food travels on average of about 1,500 miles from place of origin to our table. That’s quite a change. So much in fact one of the first shocking statements Food, Inc., starts with is how the way our food is processed today has changed more in the last 50 years than in the past 10,000 years.

Food, Inc. states early on that even if you’ve made a conscious choice to avoid fast food, an industry debated for years, fast food hasn’t avoided you. The fast food we get in the little window at the drive thru is produced on the same mentality as the ever fresh tomatoes piled high in bins and the stacked meat and poultry lined on the back walls of our grocery stores. Food wasn’t always this similar. As the slogan on the front of the Food, Inc.’s DVD box exclaims, “You’ll never look at dinner the same way again.”

That said, I’m sure there are many people who have heard of Food Inc, but would rather keep his or her head buried in the sand, “So long as it doesn’t kill me, I don’t care.” But that’s the thing, food has killed—many. E. coli, salmonella, obesity and diabetes are all explained consequences within Food, Inc. However, the biggest part to remember when thinking of viewing this film is its intent is not to scare us away from our food, but to make us aware of our food; where it comes from, and how we can change the Food Industry.

Food, Inc. is directed and produced by Robert Kenner. He weaves this story with the help of two well known and knowledgeable subjects, Michael Pollen, author of Omnivores Dilemma and Eric Schlosser, author of Fast Food Nation. Each author helps narrate the unveiling of the Food Industry. They explain how the fast food mentality was revolutionized by the McDonald Brothers back in the 1930’s; assembly lines were brought back to the kitchen like a factory. Today, 4 meat distributors control 80% of our meat.

Food, Inc. is a visually stimulating documentary luring you right from the start with alluding image labels on our food, accompanied by sweet, chiming music. These images represent the happy façade the food industry has used to continue the idea that our food comes from a friendly farm in Iowa where pigs roll in mud with glee and cows munch grass until full. A camera winds sedately through our grocery store isles suggesting diversity, selection, and like the calm before the storm, these happy images dissolve. Dark, sinister conveyor belts now move our not so happy livestock toward a place looking more like the mouth of hell; the slaughter factories. Once farms, now factories.

I will warn, this film is not the best candidate for good ol’ fashioned family fun nor would I suggest it on a first date, however as Michael Pollen says early on, “The idea that you would need to write a book telling people where our food comes from is just a sign of how far removed we’ve become.” I first ask, why wouldn’t we want to know? But more importantly, why DON’T we know? Food, Inc. points out, because we’ve never asked, stating, “The industry doesn’t want you to know because if you did you may not want to eat it.”

Now from a film standpoint, of course all films, be it documentaries or narrative fictions are still subjective. One should always keep in mind to take a film’s contents with a grain of salt. Perspectives are held and what the filmmakers want us to know is told through shot selection and edit process.

That said, I don’t believe Food, Inc’s purpose is to just bash the food industry and hope the public doesn’t eat again. The film’s running theme is our right to know as consumers and demanding change. This is important to know because as Food, Inc.’s story unravels with beautiful interweaving shots of corn fields in Iowa to shocking footage of feces filled grow houses throughout the south, we should be demanding change.

As Food, Inc. delivers its questions, it layers its answers successfully. There are plenty of first account interviews given by science experts, grow house farmers and undocumented workers all juxtaposed with shot images and archival footage. For example, Food, Inc. reminds its viewers of past and not so past, food poison outbreaks by showing news anchors covering stories from 1993 to 2007. Remember E. coli outbreaks in our meat and spinach? The salmonella in our tomatoes and peanut butter? Food, Inc. helps to show how one has absolutely EVERYTHING to do with the other.

With all the shocking facts Food, Inc. states about the food industry, it’s always good to question the validity and sources. I did at times wonder where subjects have been getting certain stated facts and numbers, but that doesn’t mean I discredit it. They all make sense. However, an image of a chicken, belly up, panting for breath in an over stuffed, confined grow house is something I don’t have to question. The images are disturbing. The images are real. The images speak volumes of what I thought I knew.

Beyond that, what Food Inc really wants us to realize is that the food industry is powerful, but only as powerful as the consumer dollar makes them. Food, Inc gives more than enough support and reason to purchase organic, wholesome and sustainable foods, free of growth hormones, preservatives and pesticides. Why wouldn’t we want to eat this? Ever wonder why chips cost more than carrots? This film has the answers. Farmer Troy Roush, Vice President of American Corn Grower’s Association says, “People need to start demanding good wholesome food from us and we’ll deliver, we promise. We’re very ingenious people, we’ll deliver.”

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Monday, November 9, 2009

Steadicam at PWP

Long time staffer and PWP Director of Photography Tom MaCoy is no longer just a certified Steadicam Operator, he is now a Steadicam Owner/Operator. This means that PWP and our clients will have even greater access to high quality dynamic video.
For those unfamiliar, Steadicam is a Academy Award Winning invention by Westchester, PA based Garret Brown. Early famous shots include the Rocky Steps sequence and multiple sequences in Stanley Kubrick's The Shining.
Never ones to be amazed only by the ability of technology, we are looking forward to deploying the Steadicam in future productions where the added storytelling value of moving camera will increase the visual and emotional impact of our shot choices.

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Friday, September 18, 2009

Teach. Kids. Science.

by Dave Lamm

With two Grammys and nearly 25 years of rock experience, the band They Might Be Giants have been steadily recording and performing music. The band has produced such popular song favorites as “Birdhouse In Your Soul,” “Triangle Man” and a cover of “Istanbul (Not Constantinople).” Over the years They Might Be Giants have continuously evolved, from the original two member band of John Linnell and John Flansburgh, into the full contemporary cadre including Dan Weinkauf, Dan Miller and Marty Beller. A rock band that originally wrote and performed songs for a more adult palate, they eventually began to write and release music for those very same adults’ kids. Starting with the album, “No!”, “Here Come The ABC’s” and “Here Come The 123’s,” it is only appropriate that this evolution should culminate into their latest release, “Here Comes Science.”

As an Amazon.com exclusive, the album comes as a two-disk set: one music CD and a DVD. The DVD is an animated presentation of the entire album and is hosted by stylized caricatures of band members Linnell and Flansburgh, both members voice their respective characters. The album tackles some very complex scientific subjects, such as cellular DNA, photosynthesis, the periodic chart of the elements, evolution, the solar system and the scientific method. The content from some of these topics would be enough to stump a typically educated adult, but that’s really the point. Instead of taking the repetition approach like the Baby Einstein series, or the Wiggle approach to, well, whatever it is The Wiggles do, “Here Comes Science” dispenses these topics as they would be from a well illustrated science text book. Each subject is dished out with brilliantly animated examples and rich in information that can be gleaned after many, many viewings.

Each song style is as varied and brilliant as is each animation style it represents. From the driving backward bass lines and frenetic colorful style of the title track “Science Is Real,” to the lovely slow ballad round and monochromatic feel of “What Is A Shooting Star?” This disk is also a must see for those who revel in short animation collections. Each piece has been animated by different artists, and as such, employs as many different artistic methods. In today’s consumer animation market, it’s such a pleasure to see a track like “Computer Assisted Design” use both traditional stop motion character animation along side some contemporary CG. “The Ballad of Davy Crocket (In Outer Space)” employs an incredibly fun technique of hand drawn animation using chalk and a traditional slate schoolroom chalkboard.

The ultimate goal of “Here Comes Science,” is not to just be a vehicle for children’s “infotainment,” but to instill an early sense of discovery, problem solving and a passion for finding out why. The project’s very spirit throbs with a beat that is the very nature of science. That is, the conviction to always better oneself, and the world around you, with the acquisition of new information. Consequently, and equally important, is the willingness to prove you were wrong. For example, the juxtaposition of the songs “Why Does the Sun Shine?” and “Why Does the Sun Really Shine?” The former song is a rave-up cover of a 1950’s children’s educational tune, and a fan favorite in They Might Be Giant’s live set list. Scientifically speaking, the song is ridiculously outdated. The latter track makes reference to the previous, as John Flansburgh lements;

The sun is a miasma

Of incandescent plasma

The sun's not simply made out of gas
(Plasma!)

Forget that song

(Plasma!)

They got it wrong

That thesis has been rendered invalid

After all this reflection on science and discovery, I was inspired to prove my own theory. 'What effects does this DVD have on its target audience?' My subject was a bright kindergartener who lives next door. In this equation, we’ll call her “d”. I added to the mixture, one dvd, and multiplied by one week of time. The attention span of the dvd was shared by “d’s” parents. We’ll assign them” J+J”. During the experiment, it was noted that “d “disregarded her toys, as well as her little brother, “c”.

{ ( (d + dvd) x t ) / J+J } – (toys + c)
Following the experiment, “d” reported that her favorite portion was “The Bloodmobile,” a simplified explanation of the human cardiovascular system. “J+J” reported that the music was very enjoyable, and were even more astounded by the fact you can fit the word “Pachycephalosaurus” into a song. “c” was unavailable for comment, he can’t speak yet. There were multiple viewings.

Based on my empirical data, there will be many more.

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Monday, September 7, 2009

Blu-ray Waits to Join the PC Party.

This article copied directly from the Markertek RSS Newsfeed. With no good way to link directly to this article only, I am cutting and pasting. The newsfeed can be found at http://www.markertek.com/rss.asp.

This article is important because it is going to influence how long it will be before we suggest to our clients and colleagues that Blu-ray become a defacto distribution choice.


Blu-ray Waits to Join the PC Party.

Thursday, August 27, 2009

Despite the recent rapid rise in the sales of consumer Blu-ray players, a fall in their prices and an increase in the number of high-definition movie titles, Blu-ray Drives (BDs) in PC systems are - for now - being left in the blue. According to iSuppli, By 2013, Blu-ray drives will be found in only 16.3 percent of new PCs shipped, up from the scant 3.6 percent of BDs currently being shipped with new consumer computers. BDs wont be replacing DVDs as the primary optical drive in PC systems through at least the year 2013, said Michael Yang, senior analyst for storage and mobile memory at iSuppli. They eventually will find success, but during the next five years, that success will be limited in the PC segment. According to Yang, the two main reasons hampering the adoption of Blu-ray drives in PCs include costs as well as the lack of a library of movies that justifies the need for consumers to move to a different drive in their PCs. Cost, Yang said, is the primary impediment. Given the high price of the product, consumers are unwilling to pay the extra money in order to obtain a high-definition drive. The cost issue is amplified by the fact that the library of content is so small that there really isnt a reason for users to switch at the moment, Yang added. And while this is changing and studios are rolling out more Blu-ray content every week, there remains a long way to go. However, the struggle to become the standard storage medium in the PC world is nothing new. From a historical perspective, each of the successful storage media in PCs has gained popularity only when content became available and when consumers actually understood that what they were getting was easy to use and worth the cost. For instance, the once-ubiquitous 3.5-inch floppy drive had a life span of 15-plus years, surviving well past its prime. Eventually, it was replaced by CD-ROMs - which, in turn, gave way to DVD drives. A changeover occurred and the floppy disk finally supplanted when it became apparent that CD-ROMs not only offered a distinct advantage but were also the medium being adopted by everything from music to games to movies. According to Yang, the moment has not yet come for Blu-ray. Until cost declines and user awareness and knowledge increases, Blu-ray will have to wait.

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Wednesday, August 19, 2009

HDTVs in More than Half of All U.S. Homes.

From the Markertek News Feed, August 13, 2009:

A recent Cable & Telecommunications Association for Marketing (CTAM) tracking Pulse report shows strong growth over the past year in HDTV ownership. In 2009, 53 percent of total U.S. households report owning a high definition television, an 18 percentage point increase in ownership over 2008, when 35 percent of households reported owning an HDTV (23 percent in 2007). Among HDTV set owners, 69 percent now subscribe to high definition service, compared to 56 percent a year ago. Ownership of large screen televisions –32 inches and larger – has also seen solid growth. In 2009, 59 percent of households owned one, up from 52 percent in 2008 (44 percent in 2007). The CTAM tracking study also took a look at recent movers and which technologies they are likely to purchase and services they’re likely to subscribe to over the next year. Movers are more likely than non-movers to buy an HDTV set (26 percent vs. 15 percent), a laptop (24 percent vs. 16 percent), and a video game system (23 percent vs. 7 percent); as well as subscribe to HD programming service (15 percent vs. 8 percent) and DVR service (17 percent vs. 7 percent). The CTAM research is based on a telephone survey conducted by CENTRIS as part of the CENTRIS omnibus survey conducted from June 5 through 14, 2009. The sample includes 1,144 randomly selected adult consumers age 18+. The study has a +/- 3.5 percentage point margin of error.

What does this mean for our clients? Even if you're not planning on producing in full HD yet, switching from the old 4x3 screen aspect ratio to the more pleasing 16x9 aspect ratio is no longer a tough decision. More than half of the TVs that will be playing your videos will be in a wide screen aspect. This ratio is more attractive, makes for pleasing compositions, and is just expected.

We would have to look for another report, but smart money would bet that the 50% line has also been crossed for wide screen laptop and computer screens as well. YouTube and most other streaming sites support 16x9, and DVD players have always automatically letterboxed images based on user selection. Unless there is a very specific reason, it is time to abandon 4x3 and go wide screen!

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Tuesday, August 4, 2009

Seattle Crew Photos

Here's a link to our Facebook album of crew shots from Seattle when we were out there earlier this summer shooting Green Careers: Sustainable Futures.

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Monday, August 3, 2009

PRIMITIVE WORLD PRODUCTIONS OFFERS SUSTAINABLE BUSINESS DISCOUNT

Press Release


PRIMITIVE WORLD PRODUCTIONS
OFFERS SUSTAINABLE BUSINESS DISCOUNT


Philadelphia, PA, July 30, 2009: Philadelphia based video production company, Primitive World Productions, announces the addition of a new discount program for green and sustainable businesses. In the process of creating an educational video for national distribution entitled “Green Careers: Sustainable Futures,” the principals of Primitive World realized that they wanted to make video more accessible to green and sustainable businesses. They are introducing a sliding scale discount based on number of employees and commitment to sustainability as demonstrated by membership in green business organizations.

Full details of the discount program are available at www.pwpvideo.com/green.

Primitive World Productions is approaching their tenth year in business in 2010. Their work has focused on nonprofit organizations and educational programming. The company was started as a sole proprietorship and now employs a full-time staff of seven and multiple part-time and freelance employees.


Contact: Michael Schweisheimer
Primitive World Productions
(Office) 215.848.0594
(Cell) 215.837.0999

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Sunday, July 26, 2009

What does our office building look like?

Coming to PWP for the first time? Not sure what the house we work out of looks like? Check out this TV commercial for a preview.
Created and directed for Galluci Music for the 2007 Christmas season by former PWP Editor Ryan Cannava, we utilized the most accessible location we had, our new building.
Enjoy.

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